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Course Criteria
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4.00 Credits
Scenes from period plays (Greek, Roman, Elizabethan, neoclassical French, Restoration, and 18th- and 19th-century European) are studied and performed. A course in performance styles and techniques for those interested in acting, directing, design, theatre history, and criticism, as well as for teachers of acting and directing.
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4.00 Credits
An introduction to the central tools and skills that make up the actor's art and craft. Through theatre games, structured improvisation, and beginning scene work, students exercise their imaginations, learn how to work as an ensemble, and develop a sense of their bodies as expressive instruments. All techniques covered have been developed by the most celebrated 20th-century theorists, such as Stanislavski, Grotowski, and Bogart, and are the same theories that underlie the training of the Tisch undergraduate acting conservatory. No prior experience necessary.
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4.00 Credits
A continuation of Fundamentals of Acting I, focusing on more advanced scene work. Students prepare a series of scenes, and a variety of advanced topics are covered, including text analysis, spontaneity, and character development.
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4.00 Credits
A study of the rich dramatic tradition of Ireland since the days of William Butler Yeats, Lady Gregory, and the fledgling Abbey Theatre. Playwrights covered include John Millington Synge, Sean O'Casey, Samuel Beckett, Brendan Behan, Brian Friel, Tom Murphy, Frank McGuinness, and Anne Devlin. Issues of Irish identity, history, and postcoloniality are engaged alongside an appreciation of the emotional texture, poetic achievements, and theatrical innovations that characterize this body of dramatic work.
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4.00 Credits
Examines plays that explicitly highlight and question the status and performance of gender, as well as selections from political treatises, books of manners, and historiography of the early modern period (1350-1700). Topics such as cross-dressing, the emergence of the actress and commedia dell'arte troupes, the dynamics of spectatorship, the development of perspective in painting and theatre, and court power relations are considered, as well as the "revisions" that women playwrights and writers made to a largely male-dominated canon.
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4.00 Credits
Transportable Drama: Stock character types, dramatic figures, and archetypal plots are to a certain extent independent and transportable terms that appear and reappear in multiple play texts, versions of those texts, and in diverse media. Beyond that, the experience of what we call "drama" is not limited to play texts and their presentation; it is present in fiction, news, film, television, the visual and electronic arts, and advertising. In this course, we explore how the dramatic impulse of several plots, figures, and characters is expressed in play texts and other media across several historical periods. For example, we may choose to look at Zola's novel and play of Thérèse Raquin, followed by Marcel Carné's 20th-century film adaptation. Or, we might examine one or more of the historical Don Juan plays in combination with the Byron poem, the Mozart opera, and/or a modern film treatment. Similarly, Shakespearean texts have been widely adapted to the present day, not only in theatrical spin-offs and films, but also through renderings by visual artists. A play based upon a news event, such as Treadwell's Machinal, may be examined in light of the original reportage and public records. By looking at clusters of related works in tandem, rather than as freestanding objects of study, we will gain a greater understanding of drama as a transportable art form and of adaptation in both its practical and theoretical aspects.
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4.00 Credits
Principles and practice of writing for the theatre. Students are expected to write and rewrite their own plays and to present them for reading and criticism.
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4.00 Credits
This course (different every time) explores different topics in drama with an emphasis on discussion and interpretation of selected themes.
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2.00 - 4.00 Credits
Requires a commitment of 8 to 12 hours of work per week in an unpaid position to be approved by the director of undergraduate studies. The intern's duties on-site should involve some substantive aspect of work in drama. The student is expected to fulfill the obligation of the internship itself, and a written evaluation is solicited from the outside sponsor at the end. The grade for the course is based on a final project submitted to a faculty director with whom the student has been meeting regularly over the semester to discuss the progress of the internship.
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2.00 - 4.00 Credits
Requires a paper of considerable length that should embody the results of a semester's reading, thinking, and frequent conferences with the student's director. The paper should show the student's ability to investigate, collect, and evaluate his or her material, finally drawing conclusions that are discussed in a sound and well-written argument. In the 2-point course, the student is held to the same high standard as is the student who is working for 4 points, but the investigation and the paper are of proportionate length.
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